It was Thanksgiving 2016, the weekend of the opening of the Philadelphia Sudanese Community Center in West Philly, the place where graduate students in my Field Methods seminar had been conducting research. Most of the students were not in town that weekend, so I went alone for the day’s events, bearing a digital still camera and MP3 recorder. While I waited for events to begin, I ventured down into the basement of the building to encounter a long brightly lit room, with an array of Sudanese cultural objects, displays of food, clothing, jewelry, and walls lined with a wide array of Sudanese art—paintings, pencil drawings, linocuts, an image of Martin Luther King Jr. with a cross and Arabic script, another of an early Sudanese woman missionary in Germany, and pencil portraits of Sudanese poets and writers. A local community ensemble of teen girl string players, one of whom was Sudanese, was warming up in the corner; a small group of teens we had worked with in a freshman seminar in 2015 was rehearsing their song and dance routine; young children played on African-made drums and then wandered around the area; hijab-covered women in a rich array of colorful toobs were preparing food.